One of the best parts about film is that it can transport you to another world so you can learn about different communities and ways of life that you wouldn’t otherwise be exposed to. East of Wall will no doubt fit that bill for many. While shots of beautiful sunsets and wide-open fields aren’t necessarily hard to find (Rebuilding, another highlight of Sundance this year, had its fair share of them, too), getting a story that feels this grounded and genuine to accompany it certainly is, with its focus on intergenerational female relationships making it so much more than a pretty thing to look at.
What is ‘East of Wall’ About?

Image via Sundance Institute

East of Wall focuses on a horse trainer named Tabatha Zimiga in South Dakota. You can tell Tabby is tough from the start, with her striking bleach-blonde hair that’s shaved on one side, a plethora of tattoos, and numerous piercings. Still, the amount of strength she has doesn’t become clear until you learn what’s beneath the surface. In addition to being a talented horse trainer, Tabby is a young widow — with her partner John having died by suicide — and a caretaker for not only her children but for local kids whose parents either can’t or don’t want to take care of them. She’s not completely alone in this, as she has her partner Clay (Clay Pateneaude) and mother Tracey (Jennifer Ehle) around to help, though her relationship with the latter can be rather fraught considering their messy history and Tracey’s irresponsible nature.
To make matters more complicated, Tabby is struggling to make ends meet, with her horses not pulling in the amount of money they should. Enter Roy Waters (Scoot McNairy), who makes Tabby a proposition: he buys 3,000 acres of land she owns, and she can work for him while still living on the property. Backed into a corner, Tabby takes the deal, which threatens the scrappy but happy life she’s made for herself and her family, biological and chosen, and further strains the relationship with her teenage daughter Porshia (Porshia Zimiga), an extremely gifted rider who blames Tabby for John’s death.
‘East of Wall’ Director Kate Beecroft Is One to Watch

Image via Sundance Institute

This is a magnificent first feature for writer-director Kate Beecroft, who utilizes some of Chloé Zhao’s techniques by combining professional actors with non-performers. Tabatha and Porshia, for instance, are played by the real-life mother-daughter duo who served as inspiration for the film, heightening the feel of authenticity. Though Tabatha’s inexperience is occasionally noticeable, it mostly works to the film’s advantage, and she will absolutely blow you away during her character’s chilling pivotal monologue. Porshia is just as impressive, effortlessly handling the burden of narrating pieces of the film to tie it all together. There’s a rawness and fearless nature to her performance that’s incredibly special and a testament to not only her skill but also Beecroft’s direction.
We’ve seen similar stories to this before, but its specificity almost always keeps it from cliché territory. The film feels lived-in from the beginning, from the house’s decoration to the characters’ clothes to the way their hair is styled. The music selection, which combines country and hip-hop sounds, adds a great deal of texture. Beecroft has clearly not only done her research but also taken care to respect the individuals and particular community into which she’s immersing us. Her talent for working with young talent expands beyond Porshia to all of the children in the movie — a fact that’s especially apparent during their group scenes. Beecroft manages to harness and capture a natural chemistry between them that’s extremely difficult — if not impossible — to force or fabricate, so casting director Wittney Horton deserves some credit here, too.

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There are refreshingly no real cut-and-dry heroes or villains in this film — at least not in the traditional sense. Everyone is flawed yet capable of goodness and positive change in their own way, with compassion and generosity going a long way. Tabby isn’t perfect by any means, but she’s nurturing and caring, even if it’s in a more untraditional sense. The kids who live with her adore and respect her, choosing to stay under her roof because of the structure and rules she provides, not in spite of them. Roy, who could easily become a cartoonish villain in lesser hands, never comes off as a one-dimensional antagonist. Rather, things like depression and poverty — societal issues that aren’t talked about as much as they should be and disproportionately affect places like the Badlands — are the only true enemies.
‘East of Wall’s Focus on Intergenerational Female Dynamics Is Heartbreaking and Breathtaking

The most striking thing about East of Wall is how real and unforced it all is, never veering into melodrama or heavy-handedness even when the themes turn decidedly dark. The best example of this is during the strongest scene in the film, which sees Tabby and Tracey sitting around a fire with a group of their female friends. What starts as all of them cracking jokes and telling funny stories eventually turns into something of an informal group therapy session where they all share their trauma. It’s shocking and horrifying to hear them recount everything from giving their children up for adoption to abusive relationships they’ve been in. This is also the scene where we finally hear Tabby talk about what happened to John — and it will break your heart.
Tracey, too, shares regrets she had raising Tabby — something we see her spend the whole film grappling with. As someone who’s mostly used to Ehle playing intense, buttoned-up characters like in The Miseducation of Cameron Post, Dead Ringers, and Pride and Prejudice, I was surprised and delighted to see her in this role. Not only does she play against type to showcase her range, but she does it flawlessly, giving my favorite performance in the film and, though it’s only February, likely one of my favorite performances of the year. To see her grapple with her actions and try to do right by her grandchildren in her own unique way while still keeping her foul-mouthed, cigarette-smoking, moonshine-making exterior makes for a truly breathtaking performance. The scenes between Tracey and Porshia, particularly when she draws parallels between her and Tabby, are undeniable highlights.
East of Wall thrives in the details, with Beecroft’s gritty, intimate direction and bold casting making it feel adjacent to a documentary. It’s at its best when it hones in on the three generations of women at its core, as the dynamics between Tracey, Tabby, and Porshia are rich and feel fresh in their complexity and intensity. It’s equally exciting to see Ehle take on a different kind of role and get the chance to discover both of the Zimigas — as well as Beecroft, whose sophomore film I am already awaiting.
East of Wall premiered at the Sundance Film Festival 2025.

East of Wall

East of Wall is a gorgeous exploration of family — both biological and chosen — in the badlands and a stunning debut from Kate Beecroft.

Release Date

January 24, 2025

Runtime

97 Minutes

Director

Kate Beecroft

Writers

Kate Beecroft

Pros & Cons

Beecroft makes each frame of the film feel authentic, from the dialogue to the wardrobe, with her gritty filming style giving it an added layer of intimacy and rawness.
The real-life mother-daughter duo of Tabby and Porshia Zimiga shine, while Ehle also gives a delightfully unexpected turn.
The film?s focus on intergenerational female relationships is refreshing, and Beecroft explores dark themes without ever feeling heavy-handed.

The film is weaker when it drifts from its core trio, with Roy?s plot feeling slightly less effective and more generic.
Tabatha?s lack of acting experience is occasionally apparent, though she all-in-all does a remarkable job.